论苏轼对陶琴无弦问题的还原与阐释  

Comment on Su Shi’s Reduction and Interpretation of the Problem of Taoqinwuxian(陶琴无弦)

作　　者：沈扬[1] SHEN Yang(Zhou Youguang Literature School,Changzhou University,Changzhou 213164,China)

机构地区：[1]常州大学周有光文学院,江苏常州213164

出　　处：《聊城大学学报（社会科学版）》2021年第6期67-73,共7页Journal of Liaocheng University:Social Science Edition

基　　金：教育部人文社科青年项目(19YJC751039):宋代记物谱录与咏物诗创作新貌研究;中国博士后科学基金第62批面上资助项目(2017M621771):宋人博物风尚与诗歌研究;常州大学周有光文学院项目(WXY2020JX001):《中国古代文学》课程探索与研究。

摘　　要：苏轼对陶琴无弦问题的关注,可能受到欧阳修的启发。欧公下世之后,苏轼对陶琴无弦作了持续跟进和深度思考,他跳脱“不解音律”的旧说,通过沉潜陶诗,追和渊明,还原陶渊明的生活情境和人格性情,从情理之真的角度推论陶琴无弦的原因,发明渊明托意无弦而有待外物的生命底色,借鉴禅宗不二法门,揭示渊明未达于死生的思想真相。苏轼关于陶琴无弦的经典论断和阐释思路,形塑了后世文人对此问题的基本看法,在陶渊明经典化历程中具有拐点意义。Su Shi’s concern about the problem of Taoqinwuxian may be inspired by Ouyang Xiu. After Ouyang Xiu died, Su Shi made continuous follow-up and in-depth thinking on Taoqinwuxian. He jumped out of the old sayings, Tao Yuanming incomprehension on music, restored Tao Yuanming’s life situation and personality by diving into Tao poetry, using the same rhyming sequence of Tao Yuanming, to infer the reason why Tao Qin had no strings from the perspective of truth of emotion and reason, invented the life background of objects that Tao Yuanming entrusted meaning without strings, and learned from Zen,Reveal the ideological truth that Tao Yuanming did not know the same between death and life. Su Shi’s classic judgment and interpretation of Taoqinwuxian shaped the basic views of later scholars on this issue,which has an inflection point significance in the process of Tao Yuanming’s acceptance history.

关 键 词：苏轼 欧阳修 无弦琴 还原 阐释 

分 类 号：I206.2[文学—中国文学]